Cultural and Bilingual Influences on Artistic Creativity Performances: Comparison of German and Chinese Students

Empirical research on the relationship between culture and creativity has thus far yielded no consistent results. Investigations of the differences are mostly post-hoc, and results are inconclusive. A creativity-value-oriented theory is proposed to explain cultural differences, as an alternative to ethnic and language effects. This study was conducted to compare the performances of artistic creativity of Germans and Chinese. Results revealed that the four groups of students examined (German students of Caucasian descent, German students of Asian descent, Chinese students studying abroad, and Chinese students studying in China) differed in their artistic creativity. German participants (Caucasian Germans and Asian Germans) produced more creative and aesthetically pleasing artwork than did their Chinese counterparts (Chinese studying abroad and domestic Chinese). This difference was observed by both German and Chinese judges. There no significant subgroup differences in creative performances—no difference between the two German groups, and no difference between the two Chinese groups. Finally, although there were significant differences between German judges, Chinese judges studying abroad, and domestic Chinese judges in judging the artworks, these were not due to a preference for artwork from students from their own cultural background. Chinese and German judges roughly agreed on what constitutes creativity. These results suggest that cultural differences affect creative performances.     

青少年创造性人格和创造性的关系：来自中美比较的证据

通过对中美400名13-15岁青少年问卷调查,比较了中美青少年创造性人格及其与创造性之间的关系.结果发现：（1）和单个创造性人格变量相比,创造性人格的内部因素、外部因素和自我因素和创造性之间的相关均达到中等程度,且均非常显著,中国青少年创造性人格三个因素能解释创造性变异的11％,美国青少年创造性人格三个因素能解释创造性变异的15％.（2）在创造性上,美国青少年在所有维度上的得分均显著高于中国青少年,但在创造性人格上,只有在自我因素上,中国青少年创造性人格得分高于美国青少年,其他因素不存在差异,这说明创造性人格不是造成中美青少年创造性差异的主要原因.     

Do Traditional Admissions Criteria Reflect Applicant Creativity?

College admissions decisions have traditionally focused on high school academic performance and standardized test scores. An ongoing debate is the validity of these measures for predicting success in college; part of this debate includes how success is defined. One potential way of defining college success is a student's creative accomplishments. We tested the hypothesis that traditional admissions criteria fail to capture adequately the creativity of applicants by asking 610 college applicants to complete several creativity tasks. These included divergent thinking, caption‐writing, an essay, and self‐report measures of creativity in numerous domains. Creativity scores were compared to data from the college application, including high school rank, standardized test scores, and admissions interview scores. Results showed that traditional admissions criteria were only weakly related to creativity. Indeed, students who report the highest creative self‐efficacy can be perceived as weaker applicants according to traditional criteria. Findings are discussed in light of the goals of higher education to increase diversity of the student body and the abilities of its students.     

Contemporary Studies on the Concept of Creativity: the East and the West

This article reviews contemporary studies on the concept of creativity across two cultures—Eastern (Asian) cultures and Western (American and European) cultures — by examining two bodies of literature. One is on people's implicit theories of creativity across different cultures and the other is on cross‐cultural studies of creativity. Studies on implicit theories of creativity in the East suggest that many Asians have similar but not identical conceptions of creativity to many people in the West. Cross‐cultural studies of creativity reveal that Easterners and Westerners differ, on average, in their divergent‐thinking performance and creative expressions. A view of creativity as relatively culture‐specific is presented and the appropriateness of using divergent‐thinking tests to measure creativity is discussed.     

The evolving systems approach to creative work

This study investigated the connection between drawing skill and artistic creativity in relation to age groups and levels of artistic involvement among 223 Chinese primary, secondary, and university students in Hong Kong. Based on the fantasy drawing task, visual-artist judges made expert judgments on students' drawing skill and artistic creativity. There was substantial correlation between drawing skill and artistic creativity among children, adolescents, and young adults, even when artistic involvement was controlled in the partial correlation analyses. The results of correlational and regression analyses suggested that drawing skill contributed most significantly to the prediction of artistic creativity throughout the years at different stages of development, but artistic involvement became more important, especially in young adulthood. Implications of the findings on the skill–creativity relationship for arts education and the directions for future research are discussed.     

Creative self‐efficacy as mediator between creative mindsets and creative problem‐solving

An emerging area of research is how one's mindset regarding the fixedness and malleability of creative ability relates to creative performance. Malleable creative mindsets tend to be positively related to creativity while fixed mindsets often show a negative association. Similarly, creative self‐efficacy, or one's beliefs that they have the capacity to be creative, is also related to creative performance and creative mindsets. While previous studies tested the direct relationship between mindsets and creativity, this study tested creative self‐efficacy in this relationship. A total of 152 students from a Midwestern university participated in the study. They were provided with measures of creative self‐efficacy, creative mindsets, and creative problem‐solving. Solutions were assessed in terms of quality and originality. Results indicated that both malleable creative mindsets and creative self‐efficacy were positively related to solution quality and originality while fixed creative mindsets were negatively related. Mediation analysis using Preacher and Hayes' (2004) bootstrapping macro showed that creative self‐efficacy mediated the relationship between malleable mindsets and quality and originality as well as the relationship between fixed mindsets and quality and originality. This research advances the study of creativity by demonstrating that creative self‐efficacy is an important mechanism through which creative mindsets relate to creative performance.     

Creativity of university students: What is the impact of field and year of study?

There is a long‐lasting dispute about development of students' creativity in the course of their university education. Both the duration and major field of study may represent the educational effects. To address the issue, the present study collected data (N = 859) from a series of surveys of students in Hong Kong to clarify educational effects by controlling a number of background characteristics and prior scores on creativity. Apart from measuring self‐reported creative traits and creative products, it measured divergent thinking with five tasks to elicit students' creative ideas, which led to scores of fluency, flexibility, novelty, innovativeness, and originality. Results indicate the trend of monotonic decline in creativity with years of study at university and the general superiority of verbal creativity among students of humanities and social sciences, whereas business students had the highest scores on self‐assessed creative traits and products.     

Promoting Creativity at Work: The Role of Problem‐Solving Demand

We propose that problem‐solving demand (PSD) is an important job attribute for employees' creative performance. Applying job design theory, we examined the relationship between PSD and employee creativity. The theorised model was tested with data obtained from a sample of 270 employees and their supervisors from three Chinese organisations. Regression results revealed that PSD was positively related to creativity, and this relationship was mediated by creative self‐efficacy. Additionally, intrinsic motivation moderated the relationship between PSD and creative self‐efficacy such that the relationship was stronger for individuals with high rather than low intrinsic motivation. We discuss our findings, implications for practice, and future research.     

Imitation,Inspiration, and Creation: Cognitive Process of Creative Drawing by Copying Others' Artworks

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork.     

The Indirect Effect of Teachers’ Creative Mindsets on Teaching Creativity

Understanding how teachers’ implicit beliefs promote and inhibit students’ creativity has important implications for fostering creativity in the classroom. This study investigated whether the effect of teachers’ fixed creative mindset on their self‐efficacy for teaching creativity was mediated by their perceptions of students’ potential and the degree to which this indirect effect varied by level of growth creative mindset. A sample of educators (N = 119) completed an online survey containing questions regarding creative mindsets, perceptions of students’ potential, self‐efficacy for teaching creativity, and a set of relevant covariates. A moderated mediation analysis indicated that the more teachers believed creativity to be innate, the less teachers tended to perceive every student to possess creative potential. Consequently, teachers’ confidence in their ability to teach for creativity was diminished. Results from the corresponding tests of simple indirect effects indicated that this negative indirect effect of a fixed creative mindset was lessened by teachers’ growth creative mindset. Taken together, the findings suggest the likely significant role of teachers’ fixed and growth creative mindsets for fostering creativity in classroom.     

The Impact of Culture and Individualism–Collectivism on the Creative Potential and Achievement of American and Chinese Adults

ABSTRACT: This research explored the relation between culture and creative potential in highly educated adults. It was hypothesized that culture would influence creative potential and achievement, largely through how individualistic (citizens serving themselves) or collectivistic (citizens serving society) the society of origin was. To this end, 55 American and 56 Chinese doctoral students were surveyed concerning their creative potential, their sense of individualism or collectivism, and their Graduate Record Examination quantitative subtest scores. Americans displayed significantly higher scores on a measure of creative potential than the Chinese. As expected, Americans showed greater individualism. Chinese were more collectivistic. Chinese had significantly higher skill mastery in the domain of mathematics. Theoretical and practical implications of these findings for understanding cultural differences in creativity are considered.     

Cultural differences in attitude toward and effects of self‐doubt

It has been argued that the high achievement of Confucian Asian students is at the cost of their psychological well‐being, since high self‐doubt consistently accompanies their high achievement. However, other researchers cautioned that the attitude toward self‐doubt could be different in Asian versus Western cultures. This study examined the debate with a survey of both American and Chinese college students that measured level of self‐doubt, attitude toward self‐doubt, beliefs about ability, and psychological well‐being outcomes. As hypothesized, Chinese students showed a more positive attitude toward self‐doubt than American students, despite having higher level of self‐doubt. Furthermore, self‐doubt engendered less negative consequences on Chinese students' psychological well‐being, relative to American students. Implications for theories and research on cultural differences in the effects of self‐constructs are discussed.     

Perception of the most creative Chinese by undergraduates in Beijing,Guangzhou, Hong Kong,and Taipei

This study surveys 489 undergraduates in Beijing, Guangzhou, Hong Kong and Taipei about their nomination of most creative Chinese people in history and in modern times. Politicians were nominated by all four samples as being the most creative individuals in the past and at present. Scientists and inventors ranked second in position. Taken together, they occupy over 90 percent of the total number of nominations. Artists, musicians and businessmen are rarely nominated. More than half of the reasons given for nominating these people are not directly related to creativity. This finding is attributed to a strong utilitarian view of creativity that lies in Chinese young people's perception of creativity. They are much more concerned with a creator's social influence or contribution in society than with his or her innovativeness in thinking. The paper concludes by addressing some methodological implications for further studies on the issue.     

Mental imagery and creativity: A meta‐analytic review study

The reports of many creative individuals suggest the use of mental imagery in scientific and artistic production. A variety of protocols have tested the association between mental imagery and creativity, but the individual differences approach has been most frequently employed. This approach is assessed here through a range of meta‐analytic tests. Database searches revealed 18 papers employing the individual differences approach that were subjected to a conservative set of selection criteria. Nine studies (1,494 participants) were included in the final analyses. A marginal, but statistically significant, Fisher's Z‐transformed correlation coefficient was revealed. Further analyses showed little difference between form and type of self‐reported imagery and divergent thinking. Explanations for the failure to account for more than 3% of the variance in the data sets are discussed in the context of anecdotal reports, task validity, and design problems.     

Shining Lights or Lone Wolves? Creativity and Self‐image in Primary School Children

The relationship between self‐image and creativity was studied in primary school children. Earlier research points in two directions. Some researchers describe the creative child as well adjusted. Others provide a more nuanced picture in which less well‐behaved children can also be creative. Three different measures of creativity were used in this study: the Unusual Uses Test, an activity questionnaire and a perceptual test (the Creative Functioning Test). A self‐image inventory was used to measure participants' perceptions of their own skills, physical self, psychological health and relationships to others. The results showed no self‐image differences between children with high and low creativity. The creativity measures were significantly related, with the exception of the flexibility dimension of CFT. One possible explanation is that CFT measured another aspect of creativity. This was illustrated in a cluster analysis in relation to self‐image.     

From Implicit Theories to Creative Achievements: The Mediating Role of Creativity Motivation in the Relationship between Stereotypes,Growth Mindset,and Creative Achievement

Research has demonstrated that implicit theories of creativity are crucial in shaping an individual’s behavior and real‐life decisions toward being creative. The present study proposed and examined the underlying mechanisms of how two kinds of implicit theories—the growth mindset of the creative self and the stereotype of creative others—are associated with creative achievements through the mediating role of creativity motivation. Participants were 606 undergraduate students who were enrolled in an education major in two universities in China. Overall, the study found that Chinese students held a positive image toward a creative student, regarding him or her as highly competent, warm, and popular. Student perceptions of a creative other were positively related to their growth mindset of creativity. Moreover, results verified both the mediating role of creativity motivation on growth mindset, as well as the effect of positive stereotyping of the creative other on students’ creative achievement. These findings point to promising creativity motivation strategies including the cultivation of a malleable view of creativity and of creative role models, that may, in turn, promote creative achievement by encouraging students to do, learn, and accomplish new things.     

Creativity of Chinese and American Cultures: A Synthetic Analysis

The article integrates the seven papers of the two special issues with a special focus on discussing the differences in people's beliefs about creativity between the Chinese and American cultures: How it is conceived, evaluated, and nurtured. It uses three metaphors to capture major differences in these aspects, and highlights areas with profound cultural variations in conceptions and creative education for future research.     

American and Chinese Similarities and Differences in Defining and Valuing Creative Products

This review of the literature explores how Americans and Chinese view creativity and what they expect from creative products. American and Chinese explicit beliefs about creativity (i.e., expert opinions) share many similarities. Implicit beliefs, however, show more divergence: Americans tend to value novelty and more “groundbreaking” types of creativity, whereas Chinese tend to appreciate creativity within constraints, such as reworking a traditional concept. The context of how people respond to creativity obviously varies by culture, although there are also some communal and universal creative ideals.     

Consensual Assessment of Creativity in Teaching Design by Supportive Peers—Its Validity,Practicality, and Benefit

Creativity in teaching is a significant and complex construct. However, in the local educational context, creativity in teaching has received little attention. This study aimed to investigate the validity, practicality, and benefits of applying a modified consensual assessment technique (CAT) to assess creativity in teaching design. Four hundred and eighty‐five written teaching designs were collected from 167 in‐service and pre‐service primary school teachers in Hong Kong. Instead of expert teachers, “supportive” peers, who had shown support, interest, and initiative in creative teaching were recruited as judges. A warm‐up exercise, with no definition of creativity, was given to the judges before beginning their assessments. The results indicated overall consistency in the judges' assessments of creativity, and that creativity factor could be distinguished from pedagogical skills and other technical factors. Most of the peer judges reported personal gains in creative teaching by engaging in the assessment process. On average, each judge spent approximately only 2 minutes rating each written teaching design. The findings confirm that the modified CAT is a valid and economical assessment method with learning benefits for the judges. The special values and implications of using supportive peer judges in consensual assessment are further discussed.